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Wednesday, August 24, 2011

Recorded : September 23, 1995 at Sunlight Studios in Stockholm, Sweden.

Genre : Hardcore Punk, Crust Punk

Label : Vinyl Japan

Producer : Tomas Skogsberg

Years after they should have gone out to pasture, Doom were still raging along with their unfeasibly heavy crust core. This brief record lacks the overwhelming bass and vocal overkill of earlier records, but keeps the band's batting average high through great songs. "Dig Your Grave" and "Want Not Need" are killers.

Recorded : Tracks 1-6 recorded on June 19,1988 and transmitted on June 28,1988.

Tracks 7-10 recorded on March 7,1989 and transmitted on March 14 1989.

Genre : Hardcore Punk, Crust Punk

Label : Dutch east India Trading

Producer : Dale Griffin

The best thing DooM ever did, hands down. Basically you have prime tracks from the earlier era recorded with fantastic BBC studio quality that sacrifices none of the raw power or intensity of the band. Too bad this is out of print...worth shelling out for though. Think about it, you can just buy this instead of 3 albums by some worthless nth generation d-beat bands that are the current flavor of the month.

"Pissed" because they came upon a shop with lots of "Korn" type stuff. "Robbed" because someone stole Chris' jacket, which also had his passport inside & "Twatted" because someone came up on stage & punched Wayne in the face for no apparent reason. All this happened during the night of the recording.

Simply some of the best crust out there, a landmark in punk rock. Side one lashes out with amazing straight ahead crusty d-beat, side two hits you with a straight ahead Napalm Death-esque grind song and a two minute peace punk tribute. Classic.

Musically this is mainly mid-tempo to fast punk rock with powerful twin buzz-saw guitars and gruff male and female vocals. The lyrics and packaging are Fleas and Lices signature blend of anarcho-punk politics, sarcasm wit, and just plain drunken antics, all designed to help get you through the drudgery of everyday survival.

Monday, August 22, 2011

The first side of this boot is Rich's post sore throat band sludgelord and they play slow but have blast beats and there pretty ok. the second side is sore throat live in 1990 and its hella bad. the sound shitty as fuck but it doesnt really matter.

The A side contains small songs that are either tuneless chaos or 1 chord over blastbeats with silly digital effects. Pretty cool, but can get repetetive if you listen for more than 5 minutes. The B side contains probably the most interesting music Sore Throat had done, Amebix and even some early Swans worship, but sadly, little of it is catchy. Get it if youre a noisecore or Sore Throat fan. But for introduction so Sore Throat, get Unhindered By Talent.

While perhaps having the greatest album title ever, as well as some hilarious lyrics and insert, it wasn't clear if Sore Throat were making fun of Napalm Death or trying to become a legitimate crust/grindcore band of their own. 52 tracks that are either quick blasts that only last a few seconds, or sound entirely like Doom or Discharge. And just when you think the whole exercise is just stupid, they go and unleash a great song like "Horrendous Cut-Throat System" or "War Is Horrendous" or "Two Horrendous Nuclear Arsenals." See the parody factor there? It's as if they wanted to celebrate and take the piss out of Discharge, Doom, Napalm etc. Still the sound is heavy as fuck, and this record is actually a lot better than some other more "serious" UKHC albums released around the same time.

A Swedish crust landmark. Discharge with battery acid in their veins instead of blood. "Game Of The Arseholes" is so wicked Napalm Death covered it. Vicious, savage, and they mean it, man. "Take that fucking cross/stick it up your ass/religion is the game of the arseholes!" Awesome.

For some reason, I always got the feeling that people did not like this record, as if the only good stuff this band did was the Raped Ass and Victims of a Bombraid seven inches. But, what the hell? It's ANTI FUCKING CIMEX, one of the best bands to ever walk the earth, and yes of course their LP is great. Anyone who tells you this sounds like MOTORHEAD has never heard MOTORHEAD. I'll grant that the s/t 12" (aka Criminal Trap) has some Lemmy moments, but the LP is pretty much all in one style, which is mid-tempo d-beat underlying driving chunky riffs, with hoarse vocals on top. It's not fast, and it's a bit flashy, but it is definitely hardcore. Comparing this to Raped Ass is like comparing apples and oranges, but songs like "Going Down," "Share My Life," and "Rose" are just as enjoyable in my opinion, once one adjusts to the style. A lot of the Japanese crust of the moment (2003) would not be exist without the influence of this album. And if you want the ultimate ode to this LP, just look at NAILBITER's career up to this point. It's an album by ANTI CIMEX, of course it rules.

Sunday, August 21, 2011

Most of the tunes here rip right along at a rapid clip, combining good tunes, that classic French chorus singing, and hot production. There are a few change-of-pace tunes which are decent though they tend to be longish. BLITZ influence, but uniquely French. Watch for more hot records on this label.

The Trotskids play quite a bit faster than most of the new French skunk bands. They have the same heavy sound and irresistable soccer chants, but the accelerated tempo adds a lot more punch and appeal, at least for me. Great stuff which I strongly recommend.

1987 the band are in studio again recording what will be the last 7" single " Mise A Sac" again for Terminal Records, more gigs follow taking in Spain and the south of France.

The band playwhat turns out to be they're last gig in Conflans (Normandy) in June 87 and split up, the reason given is the old favourite musical differences. Doume became the lead vocalist for "Hoax", Gus and Filipe formed "Les Comix" and Bugs Dennis formed "Pungy Sticks".

Trotskids are probably one of the bands that made a lasting impression on the French scene during the 80's. They only released one Maxi LP, one LP, one single, and a few tracks on the famous "Chaos en France" compilations, but that band has become a real cult. None of the band's records had ever been repressed in vinyl. Here is the 1st volume including the first part of their discography. The second volume will follow in 2008. And, once again, it's in a beautiful gatefold cover full of pictures.

Released just three months after Discharge's watershed Realities of War EP arguably gave birth to British hardcore, July 1980s Fight Back naturally didn't have quite the same unprecedented impact, but its five songs (typically averaging just over one minute in length) generally sounded even rawer, faster, and more aggressive than their predecessors. What's more, their relentlessly to-the-point lyrics ("It's a messed up, fucked up fuckin' system" so goes the chorus of "Always Restrictions") proved even more inflammatory than before, transforming the title track, "War's No Fairytale" and "You Take Part in Creating the System," into gauntlet-throwing rallying cries: either you're fighting for a solution, or part of the problem. And as if all this wasn't alarming enough for the British government and its mind-controlling institutions, closing indictment "Religion Instigates" opens up that can of worms, slapping yet another bulls-eye to the backs of Discharge's leather jackets, which both their longer list of enemies, and fast growing legion of fans, could set their sights upon.

Four songs in less than five minutes. Discharge. Should you even need to read any further, 1980s Realities of War EP was the symbolic "shot heard round the world" (at least in the punk/metal underground netherworld) announcing this pioneering British quartet's life-altering, genre-blurring arrival onto the scene. Obviously, there's precious little evidence on hand to shed light on their long-term plans; it's just evident that Discharge are anti-establishment, pro-rebellion, anti-instrumental indulgence, and pro-guitar solos. And yet, such is the densely-packed power of one-minute sonic grenades like "They Declare It" (like the Ramones jacked up on Motörhead) and "Society's Victims" ("hardcore" defined, before there really was such a term), that the hallowed template Discharge built their legend on is pretty much already fully realized here, ready for propagation, and arguably never to be bettered.

Friday, August 19, 2011

Withe the final departure of Kelvin 'Cal' Morris, Anthony 'Rat' Martin(The Varukers) steps in on the vocals to produce the kind of desperate barks found on this EP equal to those of Discharge's older signature releases.

MG15 are a Spanish d-beat band formed in 1980, but they used the name Slips & Sperma until 1983. MG15's contacts with bands & zines from many different countries helped MG15 establish a connection worldwide. The subject matter is similar to Discharge, in that the songs' themes are primarily on war & genocides. Like other bands at the time they leaned towards anarchism. In 1984 they recorded their first single, Derecho a la vida. The single was recorded on an Italian label & distributed in foreign countries since their music was much harder than other Spanish bands at the time. The following year they were interviewed on Maximum RocknRoll which helped boost their fan base in Europe, as well as North America, South America, & Australia. The interview helped them become Spanish representatives on a worldwide punk compilation, with groups from 25 other countries. In 1988 they recorded "Holy Earth", their second single, a limited edition of 330 which included two songs sung in English.

After a long silence, in 2005, MG15 recorded a split single with reformed Discharge.

Growling guitar havoc highlights this four-song Spanish EP with a sound similar to OLHO SECO. Power chords laced with chaotic-paced grinding makes for an interesting effect. Lyrics are translated on the inner sleeve, but the vocals are harsh with a rough edge that delivers the same bite as the guitar. A good dose to crank it up for raw vibrations.

Wednesday, August 17, 2011

When in doubt, just turn the clock back a few...decades? For your listening pleasure, we're serving up some absolutely classic original punk rock right here from England's The Partisans; no frills, no nonsense, and no complicated chord progressions to get in the way of the snotty, pissed off attitude. Released in 1982 on No Future Records when the UK82 punk movement was exploding across the country, 17 Years of Hell cemented The Partisans into music history alongside contemporaries such as Special Duties, Blitz, Abrasive Wheels, The Enemy, and more.

Following the success of their first single in 1981, Police Story/Killing Machine, the group quickly dropped this trio of raw, unpolished tracks onto the surging European punk scene in the Spring of 1982. As a young, stubborn, and pessimistic group, The Partisans tackled many of the recycled lyrical topics you'd expect to find, lashing out against government, police, society, and nearly everyone else in England. The title track is one of the band's more memorable offerings, remaining an important piece of the early punk rock timeline, riddled with frustration and anger.

The Partisans actually reformed in the late 90s after breaking up in 1984 (as many similar acts did), and released a new EP (So Neat) in 2001, followed by a full length (Idiot Nation) in 2004. As with most reunited punk bands, the reactions are mixed at best, so stick with their first couple singles and self-titled LP to experience the band at their short lived, but exciting peak.

Dr. Strange has the uncanny knack of picking out older bands from the brink of obscurity and releasing top notch material that stands up to their classics. The Partisans are a perfect example. Formed in 1978 by fourteen-year-old kids and English label mates with the newly formed Blitz, the Partisans sounded like an amalgamation of the Professionals, Sex Pistols, Peter and the Test Tube Babies, the Buzzcocks, and most obviously, The Clash. Their first album, self-titled, came out in 1983 (It’s been re-released as Police Story.) The summer of ‘84 saw their second LP, Time Was Right. Then, pow, aside from reissues, nothing until they self-released an EP in 2002. The only strange thing that happened in the interim is that the bassist, Dave Parsons, went on to form Transvision Vamp, then joined Bush, of all bands. 2004’s Idiot Nation pulls it off right. No stutter steps. Nothing tentative. Their roots are solidly in place (it’s punk, not an assy form or new wave or a cringing version of metal), and they don’t sound like geezers with their eyes on a brass check. This record sounds like ‘77 well spring punk. Great melodies, singalongs, and appropriate amounts of coarseness and abrasions. All in all, an extremely satisfying listen. How the hell does Dr. Strange keep doing this?

So Neat marks the Partisans return for the new millennium, and barring its thumping, thick production, this three-song blast could easily have been recorded in a different era. The songs contained herein are classic street punk that recall some giants of the genre. Please note, for example, how easily "Classified Information" could have appeared on Give 'Em Enough Rope or how much "Hysteria" is reminiscent of "I Wanna Be Your Dog." None of this would work, though, if the Partisans didn't sound more invigorated than ever. Their sweeping gusto plus an accomplished songcraft makes So Neat a compelling and refreshing listen, especially when the disc is cranked up loud.

Hail to Captain Oi! for keeping great British punk/Oi! available to the masses, as they constantly reissue old and indispensable material from seminal bands such as UK Subs, GBH, Cock Sparrer, Vice Squad, the Adicts, and yes, the Partisans, to name a few. And if that wasn't good enough, they even add a slew of bonus, rare tracks to the releases more often than not.

With the reissue of the Partisans' second full-length originally released in 1984 on Cloak & Dagger Records, we get the entire LP, half of which is live, along with four bonus tracks that include "Change" and "Come Clean" off of the "Blind Ambition" single, and the original versions of "I Never Needed You" and "Time Was Right," bringing the total to seventeen essential tracks.

For those of you who don't know, the Partisans, who formed in 1979 in South Wales straight off the heels of the first wave of British punk, consisted of Rob "Spike" Harrington on vocals, Andy Lealand on guitar, Louise Wright on bass, and drummer Mark "Shark" Harris. They released their first LP in 1983, entitled simply The Partisans. However, on The Time Was Right, the line-up changed a bit: On the first six tracks, the studio side, Andy played bass and Spike sang and played guitar, while on the live side, Dave Parsons played bass and Andy went back to guitar. After this record, the Partisans pretty much disappeared until 1989 when Rob and Spike reunited to record a couple of tracks that can be found on Captain Oi!'s The Best of The Partisans. They reformed in 2000 and are still active, as they recently completed a US tour, and are actually putting out a new record in 2003.

Now back to this record. The Time Was Right starts off with a bang-"I Never Needed You," one of the best offerings, begs the listener to shout along with the chorus. Other great tracks off the studio side are the magnanimous "The Money Rolls In" and the equally impressive "Blind Ambition," which are both teeming with emotion and pleading vocals. Off the live side, some highlights are the entreating "17 Years," "Arms Race," with its Cold War commentary, and "Over Dose," with its memorable bass/drum intro and infectious beat. These songs, along with material from their first record, including "Police Story," "Killing Machine," and "Power and Greed," are a testament to their immense song-writing ability. They play killer street punk/Oi! dealing with important issues that are conveyed through intelligent, thought-provoking lyrics. For instance, some songs are introspective like "I Never Needed You" and "Come Clean," while others, like "Only 21," are nostalgic, and still others deal with politics, including "Arms Race," "Partisans," and "Anger and Fear," in which Spike belts out: "When the gunships roar, from the sky they'll fall/...From this hell you'll realize/That there's just one thing to learn/Your wounds will always bleed/And your secrets never heal. Alternately, "Change" is a fast, catchy tune with sage advice: "The tables are not turned until you find/A solution to a problem within your mind." Good lyrics, indeed.

All in all the Partisans are one of the major forces to come out of the late '70s/early '80s British punk/Oi! movement. If you haven't heard these guys by now, definitely check them out.

This is the album that started it all! Right from the opening guitar chords of "Right Side of My Mind" to Metal Mike's high-pitched vocals -which always sound funny when he's trying to come across all angry, "Inside My Brain" is a non-stop psycho analysis backed up by blaring, tongue in cheek anthems suitable for all those who can't seem to express their anger. Being one of the pivotal bands that fueled the early Southern California punk scene, The Angry Samoans were one of the first bands to prove that one can express their frustrations of day to day life and still have a sense of humor about it; as evident with songs like "You Stupid Assholes" and "My Old Man's a Fatso." And to top it all off, this album was produced by Fear vocalist and all around jerk Lee Ving, who did a decent job capturing The Samoans raw energy.

Tuesday, August 16, 2011

This is a sweet release. The angry Somoans keep putting out great stuff. This is just as good and as funny as anything they have put out. Election day, letter to Uncle Sam and Let's burn the flag are great songs. Of course you have the classic Gas Chamber thrown in to boot. At the end of the ep you have 3 bonus "tracks" that are pretty funny. Tho not as frantic as early albums, it stands up to typical samoans work. Buy this!

Being the follow up to their horrific Yesterday Started Tomorrow EP, one would think that the Angry Samoans learned from their mistakes. Wrong. STP Not LSD follows the tradition of their last album: midtempo rock songs, soft-spoken vocals and one big platter of disappointment; heck, they're not even angry anymore. The only positive thing to come out this record is that it was their final release -- until singer "Metal" Mike Sanders reformed the band with a completely different lineup a few years later. So with that in mind, a more fitting title for this album would have been "Final Nail on the Coffin."

Something's not right here. This isn't the hate-fueled, troublesome Angry Samoans that pumped out classic punk anthems like "Lights Out," "Right Side of My Mind" and "Gas Chamber." Instead, they've completely toned down their sound into a third-rate, bad alternative rock band. And a cover of Jefferson Airplane's "Someone to Love" doesn't exactly portray aggressive like the Samoans used to do.

Laying down the groundwork for what would become one of the most visceral bands of all time, Nervous Breakdown was the first release from Los Angeles' Black Flag. While it is certainly more "punk" than their later work (singer Keith Morris sounds like a graduate from the Johnny Rotten school of diction, and Greg Ginn's guitar work is less modal), all the songs have the basic elements of what made Black Flag special: rage, anger, intensity, cynicism. Most definitely the blueprint for what would be termed L.A. hardcore, Nervous Breakdown is one of the quintessential releases in the history of American punk/independent music.

For fans, this is a treasure trove of mid-period Flag recordings that’s worth hunting down. These demos were recorded only months after the release of Damaged and a good two years before My War, Slip It In, Family Man and the band’s oft criticized move into hard rock territory, though one can already hear the metal influences creeping into the band’s sound on these 1982 recordings. The short-lived five-piece lineup (with Chuck Biscuits on drums instead of Robo) plows through most of the My War tracks, a couple of Slip It In tracks and Loose Nut’s “Modern Man” with all the raw, unbridled energy you could hope for from this band. I think that I prefer the demos of “Slip It In” and “Black Coffee” over the more polished versions that ended up on the Slip It In album two years later. As for the My War material, “Nothing Left Inside” and “Scream” fare well here and “My War” is almost as intense as the classic title track from 1984. This disc also contains two unreleased Black Flag songs, “Yes, I Know” and “What Can You Believe”. The former is typically fast and hard but somewhat undeveloped and incomplete, while the latter is a much better mid-tempo offering. The three Radio Tokyo tracks from 1984 that close out the disc make the perfect icing on the cake. Black Flag were once again a quartet (with Kira and Bill Stevenson now in the lineup) and the group sounds tighter and more focused than it ever did before.

If you object to me by putting your music on my blog,please inform me to remove it. Blogger's and the likes Please go and buy the original Lp/Cd or whatever format you lot like these day's...any comment and suggestions are all welcome.